Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their PlaysUniversity of Delaware Press, 1997 - 250 sivua Why do characters named Antonio proliferate on the English Renaissance stage? Why are they so often paired with other characters named Sebastian? And more significantly, why are they repeatedly characterized by Shakespeare and his contemporaries as fools for love? Particular Saints draws on church history, art history, and theater history to address these questions by illustrating that Renaissance stage Antonios are a type, representing a tradition familiar to early modern audiences and exploited by Shakespeare in portraying his four major characters named Antonio. Such characters ultimately derive from the rich medieval iconography and hagiography of Saint Anthony of Egypt. How this knowledge reinforms our late-twentieth-century understanding of the four plays in question is addressed in separate chapters that range widely across each work: The Merchant of Venice, Twelfth Night, Antony and Cleopatra, and The Tempest. |
Kirjan sisältä
Tulokset 1 - 3 kokonaismäärästä 13
Sivu 52
... acceptance further confirms the potency of a shad- owy , posthumous patriarchy . Readers and audience members are ... accepting the possibility that the will could have such impact . Accordingly , the fairy - tale mode inscribes and ...
... acceptance further confirms the potency of a shad- owy , posthumous patriarchy . Readers and audience members are ... accepting the possibility that the will could have such impact . Accordingly , the fairy - tale mode inscribes and ...
Sivu 85
... acceptance of imper- fection and , at that , a difficult form of imperfection for him to tolerate : his desire to be included is only partly realized , and his dread of being left out thus only partly allayed . Yet the necessary ...
... acceptance of imper- fection and , at that , a difficult form of imperfection for him to tolerate : his desire to be included is only partly realized , and his dread of being left out thus only partly allayed . Yet the necessary ...
Sivu 181
... acceptance has been variously interpreted ; it has even been seen as Pros- pero's admission of his responsibility ... accepting his human failings and needs lies his chance at spiritual freedom.50 Reminiscent of Duke Vincentio before him ...
... acceptance has been variously interpreted ; it has even been seen as Pros- pero's admission of his responsibility ... accepting his human failings and needs lies his chance at spiritual freedom.50 Reminiscent of Duke Vincentio before him ...
Sisältö
Acknowledgments | 9 |
Characters Named Antonio | 20 |
Antonio and Alienation in | 51 |
Tekijänoikeudet | |
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Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their Plays Cynthia Lewis Rajoitettu esikatselu - 1997 |
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acceptance action Antonio Antony and Cleopatra Antony's appear artists audience Bassanio become believe Caesar Caliban calls century characterization characters choice Christ Christian completely concerns continually course critics death desire discussion disguise Drama earlier early Elizabethan English especially example experience fact feelings Feste Feste's final fool foolish further give hand human ideal identity instance John judgment kind language late later least less lines live Malvolio meaning Medieval Merchant of Venice Michigan moral motives nature never Night Olivia once particular perhaps play play's political Portia practical present Press pride problem Prospero question reason reference remains Renaissance response Saint Anthony scene Sebastian seems sense Shakespeare Shylock speaks spiritual stage Antonios Studies suggests Tempest trial true truth turn Twelfth Twelfth Night University Viola wisdom wise folly worldly York
Viitteet tähän teokseen
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Rajoitettu esikatselu - 2008 |
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Rajoitettu esikatselu - 2008 |